Abigail Satinsky

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Из курса от партнера Duke University

ART of the MOOC: Activismo y Movimientos Sociales

9 оценки

Duke University

ART of the MOOC: Activismo y Movimientos Sociales

9 оценки

Este curso es para activistas, artistas y pensadores que deseen entender mejor el cambio social y participar en él. El contenido del curso enfoca en la coincidencia prolífica y emocionante entre el arte socialmente comprometido y prácticas culturales generadas por recientes movimientos sociales en todo el mundo. Más que evaluar la eficacia política de actividades como el luto, la escucha, la organización, el baile, o la fiesta, las conferencias examinan tales actividades culturales al lado y dentro de la práctica artística contemporánea. El curso incluye presentaciones de importantes artistas, activistas y académicos invitados como: Rebecca Gomperts, Chido GoVera, Gulf Labor, Hans Haacke, Sharon Hayes, Jolene Rickard, Gregory Sholette, Joshua Wong, y muchos más. Diseñado por el artista y profesor de Duke, Pedro Lasch, e impartido con el director artístico de Creative Time, Nato Thompson, este curso invita a todos los que participan en él a tratar el MOOC en sí mismo como una forma social y artística. Esto sucede sobre todo a través de los componentes prácticos, proyectos producidos localmente, intercambios mundiales, y el comentario crítico. No se requiere experiencia previa con el arte o el activismo, aunque los proyectos también incluyen buenas opciones para alumnos avanzados. Para otros cursos en esta serie o versiones en otros idiomas , solo busca 'ART of the MOOC' en el catálogo de Coursera

Из урока

La estética, la historia del arte, y las instituciones culturales: Conferencias, presentaciones por invitados, y prueba

Así como los movimientos sociales recientes han transformado el arte y la cultura contemporáneo, activistas han dependido de las ideas desarrolladas en los círculos culturales más especializados, a veces sin saberlo. Empezando con una investigación de las maneras en que el arte público socialmente comprometido ha sido incluido y excluido de algunos narrativas, teorías, instituciones y eventos, utilizaremos esta lección para seguir las prácticas sociales que cuestionan el arte e historia del arte convencional. Al hacerlo, les invitará a los estudiantes crear proyectos que se comprometan directamente en el cultivo, la agricultura, la cocina, o comer—actividades que son fundamentalmente sociales, sino que se ve tradicionalmente en contradicción con la producción artística seria.

Chido Govera8:18

Hans Haacke15:03

Future Farmers8:15

Shannon Jackson13:30

Jolene Rickard12:41

Abigail Satinsky7:27

Познакомьтесь с преподавателями

Nato Thompson
Chief Curator
Creative Time
Pedro Lasch
Visual Artist and Associate Research Professor
Duke Art, Art History & Visual Studies

Well, I think I can talk through just a little bit of my own experience

which is that I started this project which was sort of an art space,

residency program, a kind of think tank to think about how arts organization and

infrastructure could support social engaged art.

And one of the reasons that we were really excited to do the project

was because Chicago specifically had this really great history and

current kind of activity around socially engaged work.

And so we really wanted to figure out how, as people to city,

we could really like really participate in that in a meaningful way.

So it felt like creating a space, creating a series of projects

where we would invite artists in to co-produce things with us,

was sort of the way of making a hospitable gesture to the city that we were in.

So we think that that really kind of set the groundwork for thinking about regional

like a regional specifity to the work that you do in the sense that it's

not about like Chicago is the only place to do this work or Chicago is so

special but that Chicago has a partcular history in a particular context and

some of that as might be like a really long

history like viewing Chicago a place of organizing, it's work capacity.

We have all these great control figures like and and

all these people that are really important cultural figures here,

that sort of set the stage for kind of artist activity.

But also, just sort of thinking about the temporary wise,

what are artists making work here and who did we wanna connect to.

So I guess that and

sort of thinking about that, regionalism as an exciting possibility.

As a place to start, and not to always just think towards traditional

centers of art as the place where interesting things happen.

And so a little bit with thinking about, it was also about

inviting people in from other places to kind of work and be part of that city.

So that was why we decided to come.

It's just to sort of always to create ways of creating openings and

your locality that can detect new ideas but

also sort of respect the things that are happening there already.

And then I'm thinking about a project like we did with Sunday Soup

which was a community meal that raised finds for social-engaged projects and

how that grew into a network that other people participated in.

By starting your own chapters.

It really was a way to sort of say,

well in Chicago this is how it works because of the community that's here.

And this is why they wanted it to happen and this is how we're engaging with it.

But then then when it turned into the network project it was really about

sort of learning about this different contexts and what they needed.

And they were sort of able to take that on and sort of mold and

change it in way that was relevant to them.

So, Balitmore and Phildelphia, all these different places,

the artist community and the community itself just needed something different.

And so sort of creating a framework for them Is context related,

but also open to change.

That you really sort of get to learn a lot more about what you're operating from and

sort of what other context means.

In the context of making the support network's book on Chicago Social practice,

and the fact that it's a part of four books.

So there are other editors that also engaged in this process with me,

and it was part of an exhibition at.

It was really about this idea of [INAUDIBLE].

It's sort of seen as a very popular and new idea.

And sort of, like, that there are a lot of artists are gravitating towards it.

And they are gravitating towards it for very good reasons.

I mean, they are trying to.

I think because it really, I think there's an urgency right now around trying to

figure out how to contribute to a civic and social life outside of feeling

like the art world is the most satisfying place to do that.

And so with that kind of popularity and

with the sight to the educations being devoted to it,

new institutional spotlighting and highlighting of this kind of work.

That there's all this sort of buzz about what this thing is, but

it does come out of a regional history and there is a much longer trajectory.

And there are other places to learn from, not necessarily only from art history.

And so after engaging in this kind of social activities, then sort

of thinking about how musicians organize or thinking about how poets organize.

Or thinking about social clubs or art, or

legacy like Jane Adams, and how important that is to sort of the study of multi news

centers which are important to socially engaged artists today.

So that felt like it really needed to happen and

across all the books it really needed to happen to drive,

draw a broader picture as to what to be skeptical of and what to sort of

understand has a long history that we need to be respectful of too.

I feel like questioning, critical, respect, but just sort of paying homage to

other people that have done the work that laid the groundwork for

how artists are thinking about it right now.

Like the kind of artist-run culture and also kind of the small non-profit world.

That they sort of act as incubators of what larger institutions feed upon.

And so in that way you know, I think that one of the challenges.

is to articulate the value that's happening on that level,

so you don't always have to believe in growth.

You don't always have to believe in institutionalizing in order

to sort of value the level at which you're operating on.

One of the reasons that well, I was gonna say, one of the reasons that our response

basis sort of turned into institutions in a sense is that at a certain

point like there was governmental founding to hire artist to work in those spaces.

And then, under program called Sida, the comprehensive employment training act,

which believes that you were trained artists as long side If you would train

other kinds of workers, then Reagan took that program away.

And then all of the sudden the sort of birth of this administrative

class came into being.

And so people get graduate degrees and being an administrator, and

then they'd go work in those spaces, and so the differences that you see between

what's happening in an organization and what's happening within artisan movies

sort of become more and more no, at opposite ends of the spectrum.

And I'm someone that's studied [INAUDIBLE] friction.

I'm not saying that you can't sort of operate within that sort of way

of thinking and not [INAUDIBLE] creatively too.

But I do think it's sort of there's a historical specificity to sort of

always keep in mind in terms of where, how it's [INAUDIBLE].

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